Becoming an authoritative voice isn’t easy. With each individual Twitter account serving as an instrument in the infinite orchestra, sometimes the dissonance can outweigh the discourse. Yet hip-hop is full of leaders, of writers whose livelihood rests on being compelling orators. Especially for those who dare to explore complex themes of societal equality, political status, and interpersonal connection. Doing so without credibility is a fool’s errand, and in a genre where artists continuously develop trust with their fanbase, a misstep can feel like a betrayal.

When OutKast first delivered “The Whole World” on November 27th, 2001, the Atlanta duo had long established themselves as reliable narrators. Those who observed the world as it was, who spoke frankly about issues without sugarcoating nor preaching. On the mic, Big Boi and Andre 3000 exuded wisdom as palpable as any OG figure, letting their vivid imaginations carry listeners through issues that might otherwise prove alienating.

As we’re currently in the midst of witnessing, division runs rampant throughout western society. Tenuous relationships exist between entertainers and consumers, and in a predominantly black space like hip-hop, some conflicted listeners likely struggle to look beyond their prejudices. It’s all to often heard that a rapper is “glorifying violence,” though many of those same rappers are haunted by untreated post-traumatic stress disorder. And yet these critical listeners still return to the music, providing monetary support while holding disdain for the societal issues plaguing the black community. It’s a problem that has been prevalent since the rise of rock and roll. Artists like Chuck Berry and Little Richard helped develop the culture and inspire iconic bands like The Beatles and The Rolling Stones, all while forced to contend with the fallout of a segregated era. The tenuous balance of valuing entertainment while disregarding entirely the entertainer’s well being.

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It’s no wonder that OutKast opted to portray “The Whole World” as a circus, a concept reflected in the visuals and musicality alike. The imagery is evocative, leaving little to interpretation yet still effective. Andre, donned in the garb of a tragic clown, serves as the main attraction, set upon by the gaze of an entirely white audience. As the song opens, Three Stacks reflects on the painful relationship between fan and rap artist with frank simplicity. “Cause the whole world loves it when you don’t get down, and the whole world loves it when you make that sound,” he sings. “And the whole world loves it when you’re in the news, and the whole world loves it when you sing the blues.” Provided fans are able to retain a safe distance, an artist’s pain is all too easily received as pleasure; it’s the same reason why many are quick to praise a rapper’s darkest work, one created during a time of personal crisis.

Leave it to the enigmatic genius to serve his satire with a smile. In his opening verse, Andre 3000 deftly dances his way through a variety of topics. His vernacular, matched in scope by his imagination and all the more potent for it, make even his battle rap braggadocio sound refined. “Set a date sucker, in battle we can engage,” he spits, one with the bouncy lullaby. “I’ll slice you, wife you, marry you, divorce you, throw the Porsche at you is what I’m forced to do.” There’s something fascinating about Andre’s syntax, manipulating traditional word placement to suit his purpose — yet somehow sounding more eloquent as a result. Though his verse itself isn’t inherently political in nature, Three Stacks doesn’t need to say much to make a point. It’s a testament to his power as an authoritative narrator, where elements like a slightly weary cadence can sell his temperament better than any lyrical description.

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Given how far Killer Mike has come since first careening onto the scene with his debut album Monster, it’s hard to picture a time where he wasn’t passionately leading the charge in the fight for equal rights. Like Andre, Mike swerves the deeper commentary “The Whole World” is making, instead placing his lyrical prowess at the forefront. Interestingly enough, the complex dynamic between an artist and a politically-and-or-racially resentful fan would be a topic that the Mike of today could easily discuss at length. Here, he’s simply part of the performance, another act in the circus. Given that the rapper spent much of “The Whole World’s” music video in front of the American flag, it’s likely he had no qualms of ruffling patriot feathers. How many current-day Run The Jewels fans would disagree with Mike’s political stances or challenge his philosophies on black excellence? While it may have taken him a while to evolve into the leader he is today, his involvement here indicates that he was always ahead of the curve.

It’s only Big Boi who verses the song into overtly political territory, his opening bars painting a picture of a world in turmoil. As the single was released only a few months after nine-eleven, where tensions with the Middle East were boiling, and George W. Bush was President of the United States, it’s fair to say that Americans were overwhelmed with anxiety. “Wait, back to the enemy of the state, is the Republicans or Democratic candidate?” wonders Big Boi, unable to make the distinction. It’s a familiar song and dance, one that has yet to slow nearly twenty years later. Politicians remain at odds. Hip-hop still stands as the dominant commercial musical genre, though many of the same prejudices and judgments remain for those who craft it.

That’s not to say one must abide by everything a rapper claims in order to appreciate their music. But as “The Whole World” aims to point out, it’s disturbingly easy to pass judgment from the sidelines and dehumanize an artist. Though Big Boi advises he and his groupmate look inward for inspiration, that chorus of dissonant voices can feel overwhelming. So next time you think of resenting Andre for his absence, instead choose empathy and aim to understand why he took a step back. You may love it when he makes those sounds, but is it really worth it if all he’s singing is the blues?

“I watch this video and reminise on that krazy am hour of september 13, 2010. I got a visit from Lesane Parish Crooks. Reserch this name.”

There’s a question that often frequents certain rap circles: “what would the rap game be like if Tupac was alive today?” ‘Pac doesn’t necessarily stand at the top of hip-hop’s Mount Rushmore due to his technical prowess or even the charge of his wordplay. He’s the greatest to ever do it because he wasn’t afraid of speaking his mind, and through that, he challenged the listener with timeless gems that resonate even during the most unpredictable moments in life. A pen that undoubtedly influenced generations of rappers that followed, Tupac painted an image of a Black America ravaged by the Reagan administration’s policies and budget cuts. An America that was being silenced and even further marginalized through Reaganomics and tough-on-crime stances that continued to target Black and Brown Americans across the country. That’s a narrative in hip-hop that hasn’t changed mainly because things haven’t changed. In the past few weeks, we’ve witnessed an uprising in America that has led to protests in other countries demanding justice. 

Raymond Boyd/Michael Ochs Archives/Getty Image

The murder of George Floyd isn’t an uncommon story in America. We’ve seen it in the past, most notably with Eric Garner, who died from suffocation at the hands of police in 2014, over allegations of selling loose cigarettes. George Floyd, it was an alleged counterfeit $20 bill. Both deaths shouldn’t have happened, and anyone with a grain of humanity in their soul would agree. But the death of George Floyd has sparked protests across the country calling for imminent change. Change that’s beginning to seem somewhat tangible. Not just within the justice system but in society as a whole. Racism is still rampant and has been, even in the most subtle ways. Nearly 100 years after Black Wall Street was burned to the ground, America’s witnessing some of their “sacred values” that are rooted in racism get burned to the ground as well.

In the midst of a revolutionary uprising, a few people across social media began criticizing artists like Kendrick Lamar for not using his platform to issue a statement or show his solidarity publicly. His music has previously been anthemic for the Black Lives Matter movement. The hook for “Alright,” for example, became a chant during demonstrations against police brutality. This week, Kendrick Lamar’s 2015 opus To Pimp A Butterfly returned back to Billboard 200 chart after seeing 120% increase in sales. “Alright” has soundtracked peaceful protests but as these same peaceful protesters get hit with teargas and rubber bullets, the intro to Kendrick Lamar’s “HiiiPower” truly resonates.

“The sky is falling, the wind is calling/ Stand for something or die in the morning.”

“HiiiPoWer” was initially introduced by Ab-Soul before every other member of TDE at the time began to push the movement as a collective. References to HiiPoWer are scattered throughout the TDE discography but there was a stronger emphasis on the idea in Section.80. Kendrick explained it as a movement that should be treated like a religion of sorts, one that’s meant to bring a sense of enlightenment and elevation to the minds of Generation Y.

“HiiiPoWer is the way we think, the way we live. See it’s known as today that the human race is nothing. No morals. No standards. What we’re about to do is raise the level of expectations. No, you don’t have to have a lot of money. You don’t have to be rich. But you will be rich in mind and spirit. Some say it’s as big as a crew, some say it’s as big as a gang. HiiiPoWer, we stand for it as if it’s as big as a religion.”

“HiiiPoWer” was a key introduction to someone who would become one of the most important artists of our time. 2011 was a year that many considered essential to the rap renaissance. Artists like Drake, Wale, J. Cole, and Kendrick Lamar were on their come-up, but truthfully, no one’s vision was as vivid as Kendrick’s.

‘Pac once said, “I’m not saying I’m gonna rule the world or I’m gonna change the world, but I guarantee you that I will spark the brain that will change the world.” Kendrick Lamar became that mind. “HiiiPoWer” was admittedly inspired by a dream Kendrick had, where ‘Pac visited him to tell him not to allow his message and his memory to die. He didn’t. 

Kendrick Lamar tackles conspiracy theories and oppressive systems, taking notes from prominent Black figures who dedicated, and ultimately lost, their lives for Black liberation. MLK Jr. and Malcolm X had visions that were bigger than themselves or even their immediate geographical community. Even references to Black Panther co-founders Bobby Seale and Huey P. Newton emphasizes the message of imminent change on “HiiiPoWer”, though we’re witnessing it come into fruition nine years later. The reference to Seales, at this point in time, seems to reflect exactly what has gone on in the past two weeks. Bobby Seales was tried as part of the Chicago Eight accused of conspiring to incite riots at the 1968 DNC Convention in Chicago. The riots that ensued in late August 1968 sparked due to police brutality against demonstrators. Police fired teargas into the crowd, beat down demonstrators, and arrested them. Then-mayor Richard J. Deley shut down a protest permit for anti-war demonstrators before deploying 12K police officers, the Illinois National Guard, and Army Forces. Sound familiar?

“Tryna stay above water, that’s why we shun the navy
Pull your guns and play me, let’s set it off
Cause a riot, throw a Molotov
Somebody told me them pirates had got lost
‘Cause we been off them slave ships
Got our own pyramids, write our own hieroglyphs.”

The theme of liberty, especially for the Black community under an oppressive system, runs deep throughout the track. But there are moments when Kendrick admits that his fate could be similar to ‘Pac’s. Or Malcolm’s. Or Martin’s. As a voice of rebellion for a generation, a community of marginalized groups, Kendrick acknowledges that his words carry weight. There’s a long list of activists, Black activists specifically, who have been targeted and have been under surveillance for speaking out against the system. Kendrick invites the world to view his autopsy if ever he’s assassinated for speaking his truth. But even now, in the age of social media, where performative activism is at an all-time high, these community leaders and activists who have been at the forefront of the Black Lives Matter movement organizing and leading protests are being heavily surveilled under the FBI’s concern for “Black extremism.” Just last week, The Verge published an article on protecting digital security ahead of protests, to block authority from receiving information that would tip off the police, or allow them to trace you. 

Roger Kisby/Getty Images

What emboldens this is J. Cole’s production on the song. Cole enhances the feeling of paranoia with synths that sound phone-tapped blended with dial-up Internet tones and morse code. The drums kick with a powerful punch and a Just Blaze touch. Distorted guitars clash through the beat like an interception on a radio signal, and Kendrick’s leading the takeover. 

2020 will mark 24 years since Tupac was shot and killed in Las Vegas. He was only 25-years-old at the time. He changed the world in his own way, though he never lived to witness it with his own eyes. Even as injustices continue to take place, the power system at large is beginning to dwindle at the hands of the people, slowly but surely. It’s long-deserved, and a battle that has been passed on from generation to generation. The level of expectation, as Kendrick Lamar explained on the “Cut You Off” outro, has been raised to a point where rebellion can be the only solution to change. 

“All of society is doing is leeching off the ghetto. They use the ghetto for their pain. For their sorrow. For their culture. For their music. For their happiness. For their movies to talk about Boyz In The Hood,” ‘Pac said in the same interview referenced earlier. “I don’t want to be 50-years-old at a BET ‘We Shall Overcome’ achievement awards, you know what I’m sayin’? I want when they see me, they know that everyday that I’m breathin’, it’s for us to go farther.”

“HiiiPoWer” has been overshadowed in Kendrick’s catalog by the more commercially appealing records, understandably. His core fans, though, will always hold the record in high regards. Some were introduced to Kendrick with this single while others recognized a moment as his official arrival to the realm of rap’s elite. That same summer Section.80 was released, Snoop Dogg, Dr. Dre, and The Game officially passed the torch to Kendrick as the new reigning King of the West Coast. Surely, ‘Pac would’ve been alongside all three rappers if he had lived to see the day. 

“I watch this video and reminise on that krazy am hour of september 13, 2010. I got a visit from Lesane Parish Crooks. Reserch this name.”

There’s a question that often frequents certain rap circles: “what would the rap game be like if Tupac was alive today?” ‘Pac doesn’t necessarily stand at the top of hip-hop’s Mount Rushmore due to his technical prowess or even the charge of his wordplay. He’s the greatest to ever do it because he wasn’t afraid of speaking his mind, and through that, he challenged the listener with timeless gems that resonate even during the most unpredictable moments in life. A pen that undoubtedly influenced generations of rappers that followed, Tupac painted an image of a Black America ravaged by the Reagan administration’s policies and budget cuts. An America that was being silenced and even further marginalized through Reaganomics and tough-on-crime stances that continued to target Black and Brown Americans across the country. That’s a narrative in hip-hop that hasn’t changed mainly because things haven’t changed. In the past few weeks, we’ve witnessed an uprising in America that has led to protests in other countries demanding justice. 

Raymond Boyd/Michael Ochs Archives/Getty Image

The murder of George Floyd isn’t an uncommon story in America. We’ve seen it in the past, most notably with Eric Garner, who died from suffocation at the hands of police in 2014, over allegations of selling loose cigarettes. George Floyd, it was an alleged counterfeit $20 bill. Both deaths shouldn’t have happened, and anyone with a grain of humanity in their soul would agree. But the death of George Floyd has sparked protests across the country calling for imminent change. Change that’s beginning to seem somewhat tangible. Not just within the justice system but in society as a whole. Racism is still rampant and has been, even in the most subtle ways. Nearly 100 years after Black Wall Street was burned to the ground, America’s witnessing some of their “sacred values” that are rooted in racism get burned to the ground as well.

In the midst of a revolutionary uprising, a few people across social media began criticizing artists like Kendrick Lamar for not using his platform to issue a statement or show his solidarity publicly. His music has previously been anthemic for the Black Lives Matter movement. The hook for “Alright,” for example, became a chant during demonstrations against police brutality. This week, Kendrick Lamar’s 2015 opus To Pimp A Butterfly returned back to Billboard 200 chart after seeing 120% increase in sales. “Alright” has soundtracked peaceful protests but as these same peaceful protesters get hit with teargas and rubber bullets, the intro to Kendrick Lamar’s “HiiiPower” truly resonates.

“The sky is falling, the wind is calling/ Stand for something or die in the morning.”

“HiiiPoWer” was initially introduced by Ab-Soul before every other member of TDE at the time began to push the movement as a collective. References to HiiPoWer are scattered throughout the TDE discography but there was a stronger emphasis on the idea in Section.80. Kendrick explained it as a movement that should be treated like a religion of sorts, one that’s meant to bring a sense of enlightenment and elevation to the minds of Generation Y.

“HiiiPoWer is the way we think, the way we live. See it’s known as today that the human race is nothing. No morals. No standards. What we’re about to do is raise the level of expectations. No, you don’t have to have a lot of money. You don’t have to be rich. But you will be rich in mind and spirit. Some say it’s as big as a crew, some say it’s as big as a gang. HiiiPoWer, we stand for it as if it’s as big as a religion.”

“HiiiPoWer” was a key introduction to someone who would become one of the most important artists of our time. 2011 was a year that many considered essential to the rap renaissance. Artists like Drake, Wale, J. Cole, and Kendrick Lamar were on their come-up, but truthfully, no one’s vision was as vivid as Kendrick’s.

‘Pac once said, “I’m not saying I’m gonna rule the world or I’m gonna change the world, but I guarantee you that I will spark the brain that will change the world.” Kendrick Lamar became that mind. “HiiiPoWer” was admittedly inspired by a dream Kendrick had, where ‘Pac visited him to tell him not to allow his message and his memory to die. He didn’t. 

Kendrick Lamar tackles conspiracy theories and oppressive systems, taking notes from prominent Black figures who dedicated, and ultimately lost, their lives for Black liberation. MLK Jr. and Malcolm X had visions that were bigger than themselves or even their immediate geographical community. Even references to Black Panther co-founders Bobby Seale and Huey P. Newton emphasizes the message of imminent change on “HiiiPoWer”, though we’re witnessing it come into fruition nine years later. The reference to Seales, at this point in time, seems to reflect exactly what has gone on in the past two weeks. Bobby Seales was tried as part of the Chicago Eight accused of conspiring to incite riots at the 1968 DNC Convention in Chicago. The riots that ensued in late August 1968 sparked due to police brutality against demonstrators. Police fired teargas into the crowd, beat down demonstrators, and arrested them. Then-mayor Richard J. Deley shut down a protest permit for anti-war demonstrators before deploying 12K police officers, the Illinois National Guard, and Army Forces. Sound familiar?

“Tryna stay above water, that’s why we shun the navy
Pull your guns and play me, let’s set it off
Cause a riot, throw a Molotov
Somebody told me them pirates had got lost
‘Cause we been off them slave ships
Got our own pyramids, write our own hieroglyphs.”

The theme of liberty, especially for the Black community under an oppressive system, runs deep throughout the track. But there are moments when Kendrick admits that his fate could be similar to ‘Pac’s. Or Malcolm’s. Or Martin’s. As a voice of rebellion for a generation, a community of marginalized groups, Kendrick acknowledges that his words carry weight. There’s a long list of activists, Black activists specifically, who have been targeted and have been under surveillance for speaking out against the system. Kendrick invites the world to view his autopsy if ever he’s assassinated for speaking his truth. But even now, in the age of social media, where performative activism is at an all-time high, these community leaders and activists who have been at the forefront of the Black Lives Matter movement organizing and leading protests are being heavily surveilled under the FBI’s concern for “Black extremism.” Just last week, The Verge published an article on protecting digital security ahead of protests, to block authority from receiving information that would tip off the police, or allow them to trace you. 

Roger Kisby/Getty Images

What emboldens this is J. Cole’s production on the song. Cole enhances the feeling of paranoia with synths that sound phone-tapped blended with dial-up Internet tones and morse code. The drums kick with a powerful punch and a Just Blaze touch. Distorted guitars clash through the beat like an interception on a radio signal, and Kendrick’s leading the takeover. 

2020 will mark 24 years since Tupac was shot and killed in Las Vegas. He was only 25-years-old at the time. He changed the world in his own way, though he never lived to witness it with his own eyes. Even as injustices continue to take place, the power system at large is beginning to dwindle at the hands of the people, slowly but surely. It’s long-deserved, and a battle that has been passed on from generation to generation. The level of expectation, as Kendrick Lamar explained on the “Cut You Off” outro, has been raised to a point where rebellion can be the only solution to change. 

“All of society is doing is leeching off the ghetto. They use the ghetto for their pain. For their sorrow. For their culture. For their music. For their happiness. For their movies to talk about Boyz In The Hood,” ‘Pac said in the same interview referenced earlier. “I don’t want to be 50-years-old at a BET ‘We Shall Overcome’ achievement awards, you know what I’m sayin’? I want when they see me, they know that everyday that I’m breathin’, it’s for us to go farther.”

“HiiiPoWer” has been overshadowed in Kendrick’s catalog by the more commercially appealing records, understandably. His core fans, though, will always hold the record in high regards. Some were introduced to Kendrick with this single while others recognized a moment as his official arrival to the realm of rap’s elite. That same summer Section.80 was released, Snoop Dogg, Dr. Dre, and The Game officially passed the torch to Kendrick as the new reigning King of the West Coast. Surely, ‘Pac would’ve been alongside all three rappers if he had lived to see the day. 

Though Joe Budden‘s breakout single “Pump It Up” has occasionally been used as ammunition against him, those who remember growing up in the early millennium still hold love for the Just Blaze-produced banger. It’s easy to forget that the single stemmed from his full-length eponymous debut album, released seven-years ago to this day.

John Lamparski/Getty Images

Boasting tracks like the Busta Rhymes-assisted “Fire,” the lengthy “10 Mins,” and another Just Blaze collaboration in “Give Me A Reason,” the project served as a reasonably decent showcase of Budden’s abilities — albeit tailored heavily toward the mainstream.  Though Budden would go on to shed some of those habits on his ensuing Mood Muzik mixtapes, it remains an interesting starting point for one of the game’s esteemed lyricists. One that Budden himself, currently enjoying his run as a reigning media mogul, took to Instagram to celebrate.

“It’s called a journey because you have no idea what you’ll embark on,” he captions, alongside the Joe Budden album cover. “But you’ll know what to do not only by what you find, but by what those findings do to you. Happy Anniversary to me.” All things considered, it has been one hell of a ride for Jumpoff Joey, who has since provided countless gems whether as an emcee or a podcast personality. When all is said and done, we can only hope that the game starts recognizing Joe Budden for everything he has brought to the table. Happy anniversary, Joe!

It’s rare that a song’s power only intensifies with time. Though nostalgia can be a powerful means of preserving replay value, more often than not a song stands as a representation of a moment in time. A reflection of the social climate, of the musical trends prevalent. When N.W.A. first released “Fuck Tha Police” back in August of 1988, over thirty years ago, it’s uncertain whether Ice Cube, Dr. Dre, Eazy-E, MC Ren, and DJ Yella had any idea what they had created. A song that has continued to resonate with people of all ages, unified by a shared disdain for abusive police and the systems they represent.

Following the death of George Floyd, murdered by the disgraced police officer Derek Chauvin, the protests that sparked in defiance looked to the past for its theme music. With thousands placed in direct confrontation with police, in many cases forced to suffer abuse with impunity, the need for a rallying cry has reached an apex. “Fuck Tha Police” has found new life as a modern-day anthem, one whose message has endured for decades. In its simplest form, a stand against authority figures, especially those who succumb to the temptations of tyranny. Yet amidst the simple bluntness of the titular curse lies a long and complex history. One chock-full of racial prejudices borne through a lack of empathy and understanding. Satisfying though it may be to blast “Fuck Tha Police” in a cop’s vicinity, the deeper meanings should not be diluted.

Al Pereira/Michael Ochs Archives/Getty Images

The story of its creation was sold to many by the 2015 N.W.A biopic Straight Outta Compton, which depicted our five heroes being racially profiled outside of a recording studio and roughed up for no other reason beyond their skin color. In reality, a revelation on HBO’s The Defiant Ones confirmed that “Fuck Tha Police” was originally declined by Dr. Dre, after Ice Cube presented the young producer with the incendiary lyrics. It was only after Eazy-E and Dre engaged in a joyride on the Los Angeles freeway, possessed by a desire to fire paintballs into passing cars. “Fifteen minutes after that, the police is behind us,” reflects Dre, older and wiser. “They pull us out of the car with guns drawn, lay us face down on the freeway.”

In the same clip, Cube admits that Dre’s frequent trips to jail were the catalyst for “Fuck Tha Police.” As he explains, Dre’s company tended to mean that the parties were in full swing; in Cube’s eyes, the Doc’s recurring weekend slammer trips were the ultimate buzzkill. “I was mad that all the fun stopped, and Dre had to go to jail till Monday,” smiles Cube. “So I wrote ‘Fuck Tha Police.’” A far cry from the narrative put forth in the film, but authorial intent doesn’t necessarily matter when the product is ushered into the world. The minute it was released, “Fuck Tha Police” provided a voice to everybody who ever experienced police brutality. Especially when Cube’s opening verse painted such a vivid picture, one that could be juxtaposed with any given protest montage of today with no shortage of relevancy.

Albert L. Ortega/Getty Images

It’s become all too familiar a sight. A Black person harassed, assaulted, and in the bleakest cases, murdered because a police officer claims to have feared for their safety. We’ve seen the footage. Traffic stops turned fatal, as was the case for Philando Castile. A fatal chokehold placed on George Floyd over a counterfeit bill. Instances where the consequences of an officer’s actions went unfeared, the system backing them designed as an impenetrable safety net. For Ice Cube, frustrated by the seemingly unconquerable presence of the police, rebellion came through music. By belittling the organization that had disrupted his daily life. Provocative in its blunt title and direct message, it didn’t take long before “Fuck Tha Police” caught the ire of law enforcement across the country. For those who self-aggrandized themselves as untouchable, the hostile bars of Compton’s finest served as the ultimate undermining. And given how infectiously catchy the track was, its popularity ensured that “Fuck Tha Police” quickly achieved anthem status. And given how many different walks of life have experienced negative interactions with aggressive police officers — across all generations — NWA’s controversial creation continues to carry the same weight today.

Though the track’s longevity speaks to the brilliance of its creators, it also reveals a darker truth on the other side of the coin. The fact that the animosity between the civilian population and the police sworn to serve and protect still exists is a disturbing reality. It also highlights how deeply entrenched within the system that racism really is. “Police think they have the authority to kill a minority,” rapped Ice Cube, in his instantly recognizable opening verse. Sadly, that truth has revealed itself like clockwork. Only this time, it seems as if the people have had enough. The streets have since come alive in protest; there isn’t a person in the entire United States that hasn’t come to know the name of George Floyd. Though some police have attempted to combat the uprising with force, they’ve quickly realized that heightened publicity can be a devastating counter to their all-too-often unprovoked bouts of violence. Excessive force will no longer be judged by fellow officers, but the court of public opinion — one that is, for what feels like the first time, standing largely united. All the while, N.W.A’s “Fuck Tha Police” continues to capture the zeitgeist once again, gaining renewed purpose as a protest anthem for a new generation. 

When it comes to hip-hop Instagram pages, few can boast as varied a profile as the legendary Snoop Dogg. Not only does the Doggfather fire off top-tier memes on a daily basis, but he also provides plenty of historical hip-hop flicks, many of which range from his own tenure within the rap game. Clearly, Snoop appreciates his fellow artists — not only on the basis of their musical talent but on their personal qualities as well.
 

Amy Sussman/Getty Images

As we all know, authenticity is an important quality for Snoop, a proud rebel against the pro-snitching movement and all it represents. Yet there remain enough who meet his criteria for realness, many of whom have served prison time over the course of their lives. Yesterday, Snoop took to Instagram to share a collage of iconic hip-hop mugshots, belonging to himself, 2Pac Shakur, Notorious B.I.G, and 50 Cent.

With many ranging from the early nineties, it goes to show that rappers have been dealing with the prison system for decades, with Snoop himself nearly derailing his entire career over a murder charge from which he was acquitted; that incident, which took place in 1993, formed the basis of his classic song “Murder Was The Case.” It’s not entirely clear what prompted Snoop to share the collage, but it seems possible that he aimed to highlight those who experienced the justice system first-hand. Check it out for yourself below, and show some love to four of the game’s enduring voices.  

The “All The Way Up” remix marked a major turning point in the sour relationship between Fat Joe and Jay-Z. The two rappers put their differences to the side and collaborated on the hit record, putting on for New York City. During a conversation with Peter Rosenberg, Joey Crack revealed that everybody was trying to hop on the remix, including one of the most iconic rappers of all time, but it was ultimately only the original artists and Jay-Z on it because Hov wanted the moment to be special.

“I got a FaceTime call maybe three times while ‘All the Way Up’ was out,” said Fat Joe on Open Late. “And it was your man, the 6 God, Drake.”

The rapper explains that Drake was asking him to send over the instrumental so that he could record a verse for the remix. However, his part of the song was never released because Jay-Z ultimately decided he didn’t want any extra artists on the record.

Kevin Mazur/Getty Images

“[Jay-Z] said ‘Look, Joe. It means so much to the history between us, let’s not put no one else on the song,'” said Joe. “He’s not referring to Drake. … Everyone wanted to get on the remix.”

He even went so far as to say that the remix is “supposed to be” with Drake and Hov. Here’s hoping that we get to hear that one day.

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Many in their late twenties and early thirties still look back fondly on the early millennium, around the years two-thousand and two-thousand-three, as one of hip-hop’s definitive eras. The platinum era, where a handful of incredible producers each moved the game forward with their own wholly unique sound. Though he’s currently in the midst of an epic run with albums like Freddie Gibbs’ Alfredo, Alchemist was actually part of that era all those years ago, a younger man still turning heads with his hard-hitting production. 

 Scott Dudelson/Getty Images

Today, on the same day he dropped off a new collaboration album with Freddie Gibbs, Alchemist took a moment to reflect on the year 2001, by way of a throwback Source Magazine story: “Chairmen Of The Board.” Highlighting and summarizing some of the time’s defining voices, the spread focuses on Dr. Dre, Neptunes, Alchemist (“he may not be a household name just yet”), Mannie Fresh, Rockwilder, Timbaland, Swizz Beatz, and DJ Premier.

On paper, it’s clear that we’re looking at a one of a kind roster full of legendary beatmakers. Alc took a moment to recognize that very fact, showing his humility with a genuinely wholesome caption. “2001. Source Magazine. Look at the killers i had to swim with!!!!!” he writes. “Every person in this is a god to me. Salute to my comrades. Forever grateful.” DJ Premier also took a moment to chime in, generally speaking for all of us by saying “WOW!!! THAT WAS A GOOD YEAR!!!”

What do you think — was this the best era for producers in hip-hop history?

Duality is one of hip-hop’s most rewarding themes. It presents the artist as a flawed and complex human being, gray in a spectrum of black and white. It allows the same artist to lay out their values and darkest urges as equals, forcing themselves to analyze both with thorough care. For some, the right path can be difficult to discern. Temptations can prove devastating. DMX knows that better than most. Fans of his debut album It’s Dark And Hell Is Hot understand his struggle, his ability to stay fixated on the Lord’s light. Songs like “Damien,” itself a masterclass in horrific storytelling, brilliantly outline DMX’s duel with evil incarnate. Yet that story unfolds in a traditional sense, one man’s encounter with the devil’s physical form. On “Stop Being Greedy,” that same conflict occurs from within.

There are two parallel manifestations of conflict on “Stop Being Greedy.” One comes courtesy of Dame Grease and P Killer Tracks’ instrumental, which alternates between two segments. The first, slightly mysterious yet relatively benign; the second, a hellish descent reminiscent of The Exorcist’s “Tubular Bells.” DMX uses both backdrops to bring his proverbial “angel” and “devil” to life. Like in “Damien,” his voice plays a pivotal role in fleshing out both perspectives. The former is almost approachable in its delivery, higher-pitched and even slightly tentative — only prone to react when provoked. The latter is the epitome of savage, a violent growl liable to snap in a violent fashion. As both the instrumental and cadential elements combine, “Stop Being Greedy” becomes somewhat of an emotional roller coaster.

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“I don’t like drama, so I stay to myself, keep focus with this rap shit and pray for the wealth,” he raps, his light side shining through. “I want the money, just give me the honeys with big asses, the most expensive champagne you got in big glasses.” His ambitions are basic, simple, admirable if a little shallow. An introvert dedicated to pursuing a rap career. Yet dark X returns immediately thereafter; “with a vengeance” is an understatement. “I’m broke so I’ma bash his head wide open, beggin’ me to stop, but at least he died hopin’,” he snarls, providing one of the most brutal punchlines of his career. “Didn’t get his wish, and now he’s a dish for the pack / two glowin’ red eyes, everything else is black.” The two sides couldn’t be further from one another. Yet somehow, X sounds more comfortable embracing the violence; it’s the reason why those sections are the payoff, while the lighter sections are the set-up.

“Stop Being Greedy” also benefits from having a few notable interpretations. As established, it can be seen as two sides of a man’s desires. His desire to thrive and excel in his environment, earning rap game success and material dominance. One of his earliest lines is most telling: “But when it gets dark, it’s like a n***a’s having dreams.” The first segue into the “darker” version of himself, these moments can be understood as light X’s nightmares, his fears that his devilish impulses might sabotage everything he’s earned thus far. Another interpretation is one viewed through the lens of foreshadowing. After all, this is the same album in which “Damien” walks away victorious, having secured X’s soul for his collection. In that case, “light” X is point A and “dark” X point B. The journey is linear, and his inner demons ultimately seize control of his destiny. While examining It’s Dark And Hell Is Hot as a conceptual whole, this interpretation explains how songs like “X Is Coming” can coexist alongside “The Prayer.” The story is not being told chronologically.

Remaining one of DMX’s defining works to this day, “Stop Being Greedy” highlights many of his strongest artistic assets. His ability to establish and develop different aspects of his personality. His mastery over cadence, an underrated aspect of emceeing. A brutal pen game, one that respects the gravity of violence. And most importantly — a complex character, unafraid to present his flaws and succumb to them. There’s a reason he’s considered so widely regarded in the pantheon of hip-hop greats. Whether you’re rooting for X to defeat his demons and gravitate toward the light, or eagerly beckoning him to embrace Damien like an old friend, “Stop Being Greedy” presents both paths as equally ble options.

It's time to celebrate Future for what he is: a certified hitmaker and an ultra-talented songwriter. The Atlanta rapper is on the heels of his High Off Life release, going #1 in its first week out. The album brought Future his highest sales ever, moving 153,000 equivalent album units. 

It was also a major streaming success and, because of that, a select number of songs from the new album struck gold on the Billboard Hot 100. With "Life Is Good" keeping its position in the Top 10, Future is dominating the charts right now, clocking a bunch of new successes this week and even passing some first-ballot Hall of Famers in the process.

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According to Chart Data, Future has officially passed Elvis Presley, Nicki Minaj, and Kanye West on the list of artists with the most Billboard Hot 100 entries ever. This week, Future notched his 110th song on the chart, leaving Nicki and Elvis tied with one less, and Kanye West alone at 107 entries.

Among his new spots on the Hot 100 are "Solitaires" with Travis Scott, "Trillionaire" with Youngboy Never Broke Again, "Trapped In The Sun," "All Bad" with Lil Uzi Vert, "Hard To Choose One," "Ridin Strikers," and "Harlem Shake" with Young Thug.

Despite Pluto's strong week, Lil Uzi Vert remains the artist leading 2020 in entries on the Billboard Hot 100 with 36 separate spots.

Congratulations to Future on another legacy-defining album.